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  15. Arango, Jorge 4
  16. architecture 110
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  28. blogging 22
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  32. Botton, Alain de 38
  33. Brand, Stewart 4
  34. Bringhurst, Robert 16
  35. Brooks, Frederick P. 22
  36. Broskoski, Charles 6
  37. brutalism 7
  38. building 16
  39. bureaucracy 12
  40. Burnham, Bo 9
  41. business 15
  42. Byron, Lord 14
  43. Cagan, Marty 8
  44. Calvino, Italo 21
  45. Camus, Albert 13
  46. care 6
  47. Carruth, Shane 15
  48. Cegłowski, Maciej 6
  49. Cervantes, Miguel de 7
  50. chance 11
  51. change 16
  52. Chiang, Ted 4
  53. childhood 6
  54. Chimero, Frank 17
  55. choice 8
  56. cities 51
  57. Clark, Robin 3
  58. Cleary, Thomas 8
  59. Cleary, J.C. 8
  60. code 20
  61. collaboration 18
  62. collections 31
  63. color 23
  64. commonplace 11
  65. communication 31
  66. community 7
  67. complexity 11
  68. connection 24
  69. constraints 25
  70. construction 9
  71. content 9
  72. Corbusier, Le 13
  73. Coyier, Chris 4
  74. craft 66
  75. creativity 59
  76. crime 9
  77. Critchlow, Tom 5
  78. critique 10
  79. Cross, Nigel 12
  80. Cross, Anita Clayburn 10
  81. css 11
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  84. cycles 7
  85. Danielewski, Mark Z. 4
  86. darkness 28
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  88. data 8
  89. death 38
  90. Debord, Guy 6
  91. decisions 10
  92. design 131
  93. details 31
  94. Dickinson, Emily 9
  95. Dieste, Eladio 4
  96. discovery 9
  97. doors 7
  98. Dorn, Brandon 11
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  100. Drucker, Peter F. 15
  101. Duany, Andres 18
  102. Eatock, Daniel 4
  103. economics 13
  104. efficiency 7
  105. Eisenman, Peter 8
  106. Eliot, T.S. 14
  107. emotion 8
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  111. ethics 14
  112. euphony 38
  113. Evans, Benedict 4
  114. evolution 9
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  116. farming 8
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  120. flaws 10
  121. Flexner, Abraham 8
  122. food 16
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  124. Fowler, Martin 4
  125. Franklin, Ursula M. 30
  126. friendship 6
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  132. Garfunkel, Art 6
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  134. geometry 18
  135. goals 9
  136. Gombrich, E. H. 4
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  138. Graham, Paul 37
  139. graphics 13
  140. Greene, Erick 6
  141. Hamming, Richard 45
  142. happiness 17
  143. Harford, Tim 4
  144. Harper, Thomas J. 15
  145. Hayes, Brian 28
  146. heat 7
  147. Heinrich, Bernd 7
  148. Herbert, Frank 4
  149. Heschong, Lisa 27
  150. Hesse, Herman 6
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  152. Hoffman, Yoel 10
  153. Hofstadter, Douglas 6
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  155. Hoy, Amy 4
  156. Hoyt, Ben 5
  157. html 11
  158. Hudlow, Gandalf 4
  159. humanity 16
  160. humor 6
  161. Huxley, Aldous 7
  162. hypermedia 22
  163. i 18
  164. ideas 21
  165. identity 33
  166. images 10
  167. industry 9
  168. information 42
  169. infrastructure 17
  170. innovation 15
  171. interaction 10
  172. interest 10
  173. interfaces 37
  174. intuition 8
  175. invention 10
  176. Irwin, Robert 65
  177. Isaacson, Walter 28
  178. Ishikawa, Sara 33
  179. iteration 13
  180. Ive, Jonathan 6
  181. Jackson, Steven J. 14
  182. Jacobs, Jane 54
  183. Jacobs, Alan 5
  184. Jobs, Steve 20
  185. Jones, Nick 5
  186. Kahn, Louis 4
  187. Kakuzō, Okakura 23
  188. Kaufman, Kenn 4
  189. Keith, Jeremy 6
  190. Keller, Jenny 10
  191. Keqin, Yuanwu 8
  192. Ketheswaran, Pirijan 6
  193. Kingdon, Jonathan 5
  194. Kitching, Roger 7
  195. Klein, Laura 4
  196. Kleon, Austin 13
  197. Klinkenborg, Verlyn 24
  198. Klyn, Dan 20
  199. knowledge 29
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  201. Kramer, Karen L. 10
  202. Krishna, Golden 10
  203. Kuma, Kengo 18
  204. language 20
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  206. life 59
  207. light 31
  208. loneliness 12
  209. love 26
  210. Lovell, Sophie 16
  211. Lupton, Ellen 11
  212. Luu, Dan 8
  213. Lynch, Kevin 12
  214. MacIver, David R. 8
  215. MacWright, Tom 5
  216. Magnus, Margaret 12
  217. making 77
  218. management 14
  219. Manaugh, Geoff 27
  220. Markson, David 16
  221. Mars, Roman 13
  222. material 39
  223. math 16
  224. McCarter, Robert 21
  225. meaning 33
  226. media 16
  227. melancholy 52
  228. memory 29
  229. metaphor 10
  230. metrics 19
  231. microsites 49
  232. Miller, J. Abbott 10
  233. Mills, C. Wright 9
  234. minimalism 10
  235. Miyazaki, Hayao 30
  236. Mod, Craig 15
  237. modularity 6
  238. Mollison, Bill 31
  239. morality 8
  240. Murakami, Haruki 21
  241. music 16
  242. Müller, Boris 7
  243. Naka, Toshiharu 8
  244. names 11
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  246. nature 51
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  248. Neustadter, Scott 3
  249. Noessel, Christopher 7
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  252. objects 16
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  256. Ott, Matthias 4
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Typography

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  • Lists consist of whatever it takes

    Lists consist of whatever it takes – nouns, proper nouns, verbs, graphics, images, numbers.

    ...In lists, spaces have meaning, locating elements in relation to other elements. Lists are often free and independent from conventional rules of stylesheets / grammar / typography / punctuation. Lists also help us escape from the personal internalized mash-up stylesheets of every writer and reader – a continuous low-level background buzz checking to see if word usage, spelling, punctuation, grammar are 'correct'. Lists are all content – about the substance contained, not the container. An empirical theory here for reasoning about lists includes

    selection of list items
    list quality and completeness
    comparing list models
    comparing list architectures
    Edward Tufte, Seeing With Fresh Eyes
    • typography
  • Stacklists

    4582096F-1ADF-483D-B5B6-22FABCCCA6D8_1_105_c.jpg

    Stacklists organize and clarify complex material in 2-space. Readers read more slowly, and that's good: to think, look again, and connect words vertically within each stack and horizontally between stacks. Instead of polyphony, conventional inline lists are a freight train of words along a one-way narrow track, making it difficult to identify which words belong to which list and to link and compare elements within and between lists.

    Edward Tufte, Seeing With Fresh Eyes
    • typography
  • Sentences and words do not exist by themselves

    2C69D68B-A855-4487-BD5D-5C3A5ADC701A_1_105_c.jpg

    Sentences and words do not exist by themselves, but have natural, inevitable, unavoidable interactions with their surrounding spaces, words, and other sentences. Sentences are not independent of their spatial context, and interactions can create meanings and harms. Sentences survive content-indifferent and content-hostile spacings, but surviving is not thriving. Text space should not be owned and governed by generic productions grids, which make for convenient production but inconvenient meaning. Space can and should be content-responsive, actively contributing to meaning – forever practices in poetry, maps, math, computer code, comics, theater/movie scrips, posters. Subtle visual spacing differentiates and clarifies sentences, and meaning becomes more consequential, memorable, retrievable.

    Edward Tufte, Seeing With Fresh Eyes
    1. ​​Concrete poetry​​
    2. ​​gridless.design​​
    • typography
  • Central-axis text

    Central-axis provides a clear signal of the next line, so that readers and speakers don't have to search on the left margin, sometimes accidentally skipping down a line. Ragged-left typography is used for dialogue in novels and scripts. In central-axis, each line is activated at both left and right margins – unlike squared-off conventional text. Readers/speakers are aware of the length of the next line at both its beginning and end. That knowledge may also help readers detect the pace and rhythm of the words, as in reading poetry aloud.

    Edward Tufte, Seeing With Fresh Eyes
    • typography
  • The pernicious issue with pangrams

    Screenshot of www.typography.com on 2020-05-26 at 10.49.18 AM.png

    The far more pernicious issue with pangrams, as a means for evaluating typefaces, is how poorly they portray what text actually looks like. Every language has a natural distribution of letters, from most to least common, English famously beginning with the E that accounts for one eighth of what we read, and ending with the Z that appears just once every 1,111 letters. Letter frequencies differ by language and by era — the J is ten times more popular in Dutch than English; biblical English unduly favors the H thanks to archaisms like thou and sayeth — but no language behaves the way pangrams do, with their forced distribution of exotics. Seven of the most visually awkward letters, the W, Y, V, K, X, J, and Z, are among the nine rarest in English, but pangrams force them into every sentence, guaranteeing that every paragraph will be riddled with holes. A typeface designer certainly can’t avoid accounting for these unruly characters, but there’s no reason that they should be disproportionately represented when evaluating how a typeface will perform.

    Jonathan Hoefler, Text for Proofing Fonts
    www.typography.com
    1. ​​Embracing Asymmetrical Design​​
    • typography
    • language
    • design
  • To abandon control

    In print the designer is god. An enormous industry has emerged from WYSIWYG, and many of the web’s designers are grounded in the beliefs and practices, the ritual of that medium. As designers we need to rethink this role, to abandon control, and seek a new relationship with the page.

    The control which designers know in the print medium, and often desire in the web medium, is simply a function of the limitation of the printed page. We should embrace the fact that the web doesn’t have the same constraints, and design for this flexibility. But first, we must “accept the ebb and flow of things.”

    John Allsopp, A Dao of Web Design
    alistapart.com
    • typography
    • constraints
  • Typographic grid

    IMG_1202.JPG

    Just one of many examples of beautiful typography and layout throughout the book. Love the page design.

    Ellen Lupton & J. Abbott Miller, The ABC's of ▲■●: The Bauhaus and Design Theory
    • typography
    • grids
  • A state of energetic repose

    Read the text before designing it.
    Discover the outer logic of the typography in the inner logic of the text.
    Make the visible relationship between the text and other elements (photographs, captions, tables, diagrams, notes) a reflection of their real relationship.
    Give full typographic attention even to incidental details.
    Invite the reader into the text.
    Reveal the tenor and meaning of the text.
    Clarify the structure and the order of the text.
    Link the text with other existing elements.

    Induce a state of energetic repose, which is the ideal condition for reading.

    Robert Bringhurst, The Elements of Typographic Style
    1. ​​The inner nature of material​​
    • typography
  • Simple forms

    The concept that “the simpler the form of a letter the simpler its reading” was an obsession of beginning constructivism. It became something like a dogma, and is still followed by “modernistic” typographers.

    This notion has proved to be wrong, because in reading we do not read letters but words, words as a whole, as a “word picture.” Ophthalmology has disclosed that the more the letters are differentiated from each other, the easier is the reading.

    Without going into comparisons and the details, it should be realized that words consisting of only capital letters present the most difficult reading—because of their equal height, equal volume, and, with most, their equal width. When comparing serif letters with sans-serif, the latter provide an uneasy reading. The fashionable preference for sans-serif in text shows neither historical nor practical competence.

    Josef Albers, Interaction of Color
    • typography
  • Typography exists to honor content

    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 aspired to a kind of statuesque transparency. Its 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
    • time
    • style
    • typography
  • The higher courts

    Refer typographic disputes to the higher courts of speech and thinking.

    Type is idealized writing, and its normal function is to record idealized speech. Acronyms such as CD and TV or USA and UFO are set in caps because that is the way we pronounce them. Acronyms such as UNESCO, ASCII, and FORTRAN, which are pronounced not as letters but as words, are in the process of becoming precisely that. When a writer accepts them fully into her speech and urges readers to do likewise, it is time for the typographer to accept them into the common speech of typography by setting them in lower case. Other acronymic words, such as laser and radar, have long since traveled the same road.

    Robert Bringhurst, The Elements of Typographic Style
    • typography
  • Pure but silent

    Architects build perfectly proportioned kitchens, living rooms and bedrooms in which their clients will make, among other things, a mess. Typographers likewise build perfectly proportioned pages, then distort them on demand. The text takes precedence over the purity of the design, and the typographic texture of the text takes precedence over the absolute proportions of the pure but silent page.

    Robert Bringhurst, The Elements of Typographic Style
    • architecture
    • typography

    Compare to criticisms of modern architecture, specifically Le Corbusier’s programmes. Alexander believes that every room must flex and adapt to the land on which it is build and the room it is to contain. Rigid modularity cannot create living, breathing buildings.

  • An end in itself

    Typography, like language, is more important to me for what it allows to happen than for anything it accomplishes on its own. I hope that in writing a book on the subject I have not given the impression that either typography or design is an end in itself.

    Robert Bringhurst, The Elements of Typographic Style
    • typography
  • Respect

    Respect the text first of all, the letterforms second, the type designer third, the foundry fourth.

    The needs of the text should take precedence over the layout of the font, the integrity of the letterforms over the ego of the designer, the artistic sensibility of the designer over the foundry’s desire for profit, and the founder’s craft over a good deal else.

    Robert Bringhurst, The Elements of Typographic Style
    • typography
  • A gradual refinement

    IMG_3421.jpeg

    The steel rail is an artifact whose form has been carefully optimized. This gradual refinement of the design was done not by a single brilliant engineer but by more than a century of industrial evolution. The rail was never meant to be an object of beauty, but its cross section has all the elegance of fine typography.

    Brian Hayes, Infrastructure: A Guide to the Industrial Landscape
    • elegance
    • typography
    • transportation
    • evolution
    • change
  • The Elements of Typographic Style

    A Book by Robert Bringhurst
    www.goodreads.com
    1. ​​Leave the road when you wish​​
    2. ​​Typography exists to honor content​​
    3. ​​Typographic style​​
    4. ​​A state of energetic repose​​
    5. ​​Evenness of color​​
    1. ​​The utter nothingness of being​​
    2. ​​The Elements of Style​​
    • typography
  • To Make a Book, Walk on a Book

    An Essay by Craig Mod
    craigmod.com
    Image from craigmod.com on 2020-08-11 at 10.08.03 AM.jpeg

    The ability of the physical world — a floor, a wall — to act as a screen of near infinite resolution becomes more powerful the more time we spend heads-down in our handheld computers, screens the size of palms. In fact, it’s almost impossible to see the visual patterns — the inherent adjacencies — of a physical book unless you deconstruct it and splay it out on the floor.

    1. ​​Koya Bound​​
    2. ​​How I Wrote Shape Up​​
    • design
    • typography
    • understanding
    • publishing
    • walking
  • Web Design is 95% Typography

    An Article by Oliver Reichenstein
    ia.net

    95% of the information on the web is written language. It is only logical to say that a web designer should get good training in the main discipline of shaping written information, in other words: Typography.

    • typography
    • interfaces
    • www

    Almost 15 years later, still as relevant as ever.

  • What of the lowly page number

    An Article by Marlon J. Ettinger
    theoutline.com

    Statement of intent, chronological guidepost, or cheap trick to inflate the length of a text, page number placement is anything but an afterthought. Behind these innocuous and overlooked symbols, I found many stories to be told.

    • typography
  • Care for the Text

    An Article by Robin Rendle
    css-tricks.com

    Whenever I’m stuck pondering the question: "How do I make this website better?" I know the answer is always this: Care for the text.

    Without great writing, a website is harder to read, extremely difficult to navigate, and impossible to remember. Without great writing, it’s hardly a website at all. But it’s tough to remember this day in and day out—especially when it’s not our job to care about the text—yet each and every <p> tag and <button> element is an opportunity for great writing. It’s a moment to inject some humor or add a considerate note that helps people.

    …These are the details that make a good website great.

    • details
    • typography
    • content
  • In search of visual texture

    An Article by Rachel Prudden
    obliqueville.substack.com
    3C7AC130-F9E3-4569-BF32-E977C3DDD6B8.png

    I’m now more inclined to attribute Looseleaf’s power to its visual texture than to some cognitive media-style abstraction. And the visual texture owes more to the beauty (yes, beauty!) of the original pdfs from the Vasulka Archive. Perhaps the demo is best understood not as a prototype generic tool, but as a specific curated experience in its own right, with form and content claiming equal importance in its overall success.

    Even so, I think there are some general lessons that can be drawn from this demo:

    • Content is not inert
    • Visual texture lets content breathe
    • Visual texture lets the eye wander without losing itself
    1. ​​Looseleaf​​
    • texture
    • typography
    • beauty
    • interfaces
    • visualization
  • Chartwell

    A Font
    www.vectrotype.com
    Image from www.vectrotype.com on 2021-12-12 at 6.57.15 PM.png

    This set of tools for easily creating graphs is conveniently disguised as a set of fonts. OpenType features are used to interpret and visualize the data. The data remains as editable text, allowing for painless updates.

    • visualization
    • typography
  • Whomst styles?

    An Article by Robin Sloan
    www.robinsloan.com
    Screenshot of www.robinsloan.com on 2021-08-22 at 12.36.39 PM.png

    This is a “whostyle”: an attempt to carry the ~timbre~ of an author’s voice, in the form of their design sensibility, through into a quotation. It’s the author who defines their whostyle; the quoting site just honors it, a frame around their words.

    I think the whostyle makes a few arguments. Among them:

    • Text is more than a string of character codes. Its design matters, typography and layout alike; these things support (or subvert!) its affect, argument, and more.
    • The web should be more colorful and chaotic, along nearly every dimension. The past five years have brought a flood of new capabilities, hugely expressive — let’s use them!
    • Quoting is touchy, and anything you can do to cushion it with respect and hospitality is a plus.
    1. ​​Whostyles​​
    • hypermedia
    • typography
    • style
    • blogging
  • Unicode Arrows

    A Fragment by Rachel Binx
    unicodearrows.com
    Screenshot of unicodearrows.com on 2021-08-14 at 1.14.53 PM.png

    ↬ welcome to the best part of the unicode spec ↫

    1. ​​Intelligent arrows​​
    • typography
    • symbols
  • APL386 Unicode

    A Font by Adám Brudzewsky
    abrudz.github.io
    Screenshot of abrudz.github.io on 2020-08-21 at 1.46.20 PM.png

    APL font based on Adrian Smith's APL385 font with a fun, whimsical look, inspired by Comic Sans Serif.

    APL (named after the book A Programming Language) is a programming language developed in the 1960s by Kenneth E. Iverson. Its central datatype is the multidimensional array. It uses a large range of special graphic symbols to represent most functions and operators, leading to very concise code. It has been an important influence on the development of concept modeling, spreadsheets, functional programming, and computer math packages. It has also inspired several other programming languages.

    • fun
    • symbols
    • programming
    • graphics
    • typography

See also:
  1. style
  2. design
  3. symbols
  4. interfaces
  5. visualization
  6. architecture
  7. time
  8. elegance
  9. transportation
  10. evolution
  11. change
  12. language
  13. understanding
  14. publishing
  15. walking
  16. fun
  17. programming
  18. graphics
  19. grids
  20. constraints
  21. hypermedia
  22. blogging
  23. www
  24. texture
  25. beauty
  26. details
  27. content
  1. Robert Bringhurst
  2. Edward Tufte
  3. Josef Albers
  4. Brian Hayes
  5. Jonathan Hoefler
  6. Craig Mod
  7. Adám Brudzewsky
  8. Ellen Lupton
  9. J. Abbott Miller
  10. John Allsopp
  11. Rachel Binx
  12. Robin Sloan
  13. Oliver Reichenstein
  14. Rachel Prudden
  15. Robin Rendle
  16. Marlon J. Ettinger