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Top 15 Stephen Coles Quotes (2024 Update)

Stephen Coles Quote: “Carol Twombly’s source was Trajan’s Column, an early 2nd-century monument in Rome. While the letters were inscribed into stone with a chisel, recent research suggests that they were first painted with a brush, which explains their graceful serifs. There are many other interpretations of this style, including Goudy, Pietra, Waters Titling, and Penumbra. Good for: Drama, of course. Majesty. Momentous events.”

1. “Carol Twombly’s source was Trajan’s Column, an early 2nd-century monument in Rome. While the letters were inscribed into stone with a chisel, recent research suggests that they were first painted with a brush, which explains their graceful serifs. There are many other interpretations of this style, including Goudy, Pietra, Waters Titling, and Penumbra. Good for: Drama, of course. Majesty. Momentous events.”

— Stephen Coles

Stephen Coles Quote: “Right from the beginning, I was convinced that Avenir is the better Futura,” said a confident Adrian Frutiger in a recent interview looking back at his 1988 creation. In some respects, his declaration was more than mere boasting – coming 60 years after Futura, Avenir remedied many of the compromises that Renner made in his quest for geometry. Frutiger abandoned pure circles and strictly even stroke weight for “corrected” curves and a bit of contrast.”

2. “Right from the beginning, I was convinced that Avenir is the better Futura,” said a confident Adrian Frutiger in a recent interview looking back at his 1988 creation. In some respects, his declaration was more than mere boasting – coming 60 years after Futura, Avenir remedied many of the compromises that Renner made in his quest for geometry. Frutiger abandoned pure circles and strictly even stroke weight for “corrected” curves and a bit of contrast.”

— Stephen Coles

Stephen Coles Quote: “Christian Schwartz closely followed the three original weights and added a “Super” heavy weight, which required some changes in form, but retains the tailed “a,” unlike Helvetica’s bolds.”

3. “Christian Schwartz closely followed the three original weights and added a “Super” heavy weight, which required some changes in form, but retains the tailed “a,” unlike Helvetica’s bolds.”

— Stephen Coles

Stephen Coles Quote: “Minion is perhaps the most vanilla of serif typefaces. This isn’t necessarily a negative – often the goal of a text face is to make as little aesthetic impact as possible. Minion does just that.”

4. “Minion is perhaps the most vanilla of serif typefaces. This isn’t necessarily a negative – often the goal of a text face is to make as little aesthetic impact as possible. Minion does just that.”

— Stephen Coles

Stephen Coles Quote: “The superellipse – also common in Hermann Zapf’s lettering for book covers – can feel dated, perhaps because it brings to mind the shape of a vintage TV screen.”

5. “The superellipse – also common in Hermann Zapf’s lettering for book covers – can feel dated, perhaps because it brings to mind the shape of a vintage TV screen.”

— Stephen Coles

Stephen Coles Quote: “Filosofia is pretty and polite, but comes from the country. Good for: Artisanal baked goods. Fine jams and preserves.”

6. “Filosofia is pretty and polite, but comes from the country. Good for: Artisanal baked goods. Fine jams and preserves.”

— Stephen Coles

Stephen Coles Quote: “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.”

7. “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.”

— Stephen Coles

Stephen Coles Quote: “To some, this split personality is a negative trait, demonstrating an identity crisis – it can’t decide what it wants to be and ends up being nothing. But tell that to the cosmetic and pharmaceutical industries who have adopted Optima as their banner, utilizing its elegant serenity to label all manner of creams, ointments, and makeup. Good for: The stuff of the establishment. Tranquil beauty. Wellness.”

8. “To some, this split personality is a negative trait, demonstrating an identity crisis – it can’t decide what it wants to be and ends up being nothing. But tell that to the cosmetic and pharmaceutical industries who have adopted Optima as their banner, utilizing its elegant serenity to label all manner of creams, ointments, and makeup. Good for: The stuff of the establishment. Tranquil beauty. Wellness.”

— Stephen Coles

Stephen Coles Quote: “Lexicon was created specifically for dictionaries. As such, it is optimized for maximum readability in a minimum of space. It achieves this using methods that have become identified with Dutch type design:.”

9. “Lexicon was created specifically for dictionaries. As such, it is optimized for maximum readability in a minimum of space. It achieves this using methods that have become identified with Dutch type design:.”

— Stephen Coles

10. “Released at the height of the “Web 2.0” era, Klavika has become a prototypical sans serif of the information age. This is reinforced by the fact that it is the basis for the Facebook logo, but it’s been widely used in many other markets as well, including the automobile, sports, and publication industries. The foundation of the typeface is the pill shape.”

— Stephen Coles

Stephen Coles Quote: “This is the result of a Harper’s Bazaar commission for a new version of the face that had long been a signature of the magazine.”

11. “This is the result of a Harper’s Bazaar commission for a new version of the face that had long been a signature of the magazine.”

— Stephen Coles

Stephen Coles Quote: “FF Yoga Sans is part of a double-barreled assault on the traditional classics, with its partner an update of Humanist serifs like Garamond. Not since FF Scala has there been such a bold attempt to redefine these models. Good for: When Gill Sans is wanted but its idiosyncrasies aren’t.”

12. “FF Yoga Sans is part of a double-barreled assault on the traditional classics, with its partner an update of Humanist serifs like Garamond. Not since FF Scala has there been such a bold attempt to redefine these models. Good for: When Gill Sans is wanted but its idiosyncrasies aren’t.”

— Stephen Coles

Stephen Coles Quote: “Luxury Diamond, an encapsulation metal engraving style, with its long triangular serifs, wide stance, and decorative details like the notched “R” and curvaceous figures. There is also a Text family with a full lowercase character set. Good for: Raising a product’s perceived value. Filling horizontal space.”

13. “Luxury Diamond, an encapsulation metal engraving style, with its long triangular serifs, wide stance, and decorative details like the notched “R” and curvaceous figures. There is also a Text family with a full lowercase character set. Good for: Raising a product’s perceived value. Filling horizontal space.”

— Stephen Coles

Stephen Coles Quote: “Good for: Reminiscing. Gentle instruction. Putting readers at ease.”

14. “Good for: Reminiscing. Gentle instruction. Putting readers at ease.”

— Stephen Coles

Stephen Coles Quote: “Rational typefaces are drawn, not written, but their origins still come from the pen. Using a method called “expansion,” stroke weight is defined by the pressure applied to a pointed pen.”

15. “Rational typefaces are drawn, not written, but their origins still come from the pen. Using a method called “expansion,” stroke weight is defined by the pressure applied to a pointed pen.”

— Stephen Coles

Stephen Coles Quote: “Key traits are a large x-height, strict geometry, and the infamous leaning letters and ligatures that allow extra tight fitting words. These glyphs are often abused, leading Ed Benguiat to famously declare, “The only place Avant Garde looks good is in the words ‘Avant Garde.”

16. “Key traits are a large x-height, strict geometry, and the infamous leaning letters and ligatures that allow extra tight fitting words. These glyphs are often abused, leading Ed Benguiat to famously declare, “The only place Avant Garde looks good is in the words ‘Avant Garde.”

— Stephen Coles

Stephen Coles Quote: “Ever since its release at the height of the DTP age, Adobe Caslon has been the “default” serif for many designers. In fact, the original metal type was also a printer’s standby for many years, as evidenced by the expression “when in doubt, use Caslon.” The typeface is now so familiar, it simply feels right most of the time – though it could seem slightly antique for some settings.”

17. “Ever since its release at the height of the DTP age, Adobe Caslon has been the “default” serif for many designers. In fact, the original metal type was also a printer’s standby for many years, as evidenced by the expression “when in doubt, use Caslon.” The typeface is now so familiar, it simply feels right most of the time – though it could seem slightly antique for some settings.”

— Stephen Coles

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