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There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated
There isn't really a stylistic recipe for fonts to make them particularly suitable to be translated
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Bruno Maag:
Each script has its own calligraphic and cultural history. It is more a question of matching differBruno Maag:
When we design for non-Latin, we always aim to create a rhythm and texture that is sympathetic so wBruno Maag:
The Cyrillic and Greek scripts in particular have an alien beauty in their unfamiliar letterforms.Bruno Maag:
A good typeface is like a well-crafted English or Italian suit: it always looks perfect.Bruno Maag:
Type is your brand.Bruno Maag:
Why do only the Latin script when Nokia has a billion consumers? Typography is the bedrock of commuBruno Maag:
If you imagine b, d, p, and q, those are letter forms that all the children always mess up. They arBruno Maag:
The argument that a serif font is too fussy doesn't cut it anymore. You want a font where the letteBruno Maag:
I do believe that organizations can certainly improve lives by specifying better fonts, which of coBruno Maag:
A coherent typeface is an essential part of a coherent branding strategy.