Archive for February, 2012

Finger-Friendly Design: Ideal Mobile Touchscreen Target Sizes


  

In darts, hitting the bulls-eye is harder to do than hitting any other part of the dartboard. This is because the bullseye is the smallest target. This same principle can also apply to touch targets on mobile devices.

Smaller touch targets are harder for users to hit than larger ones. When you’re designing mobile interfaces, it’s best to make your targets big so that they’re easy for users to tap. But exactly how big should you make them to give the best ease of use to the majority of your users? Many mobile developers have wondered this, and most have turned to the user interface guidelines provided by the platform developer for the answer.

Finger-Friendly Design: Ideal Mobile Touch Target Sizes
(Image credit: ogimogi)

What the Mobile Platform Guidelines Say

Apple’s iPhone Human Interface Guidelines recommends a minimum target size of 44 pixels wide 44 pixels tall. Microsoft’s Windows Phone UI Design and Interaction Guide suggests a touch target size of 34px with a minimum touch target size of 26px. Nokia’s developer guidelines suggest that the target size should be no smaller than 1cm x 1cm square or 28 x 28 pixels.

While these guidelines give a general measurement for touch targets, they’re not consistent with each other, nor are they consistent with the actual size of the human finger. In fact, their suggested sizes are much smaller than the average finger, which can lead to touch target problems for users on mobile devices.

Small Touch Targets Lead to Big Problems

Small touch targets make users work harder because they require more accuracy to hit. Users need to reorient their finger, from finger pad to fingertip, to hit the target with clear visual feedback. Using the finger pad would cover the entire target, making it impossible for users to see the target they’re trying to hit. Users use the fingertip to hit small touch targets because it gives them the visual feedback they need to know that they’re hitting their target accurately. But when users have to reorient their finger, it slows their movement down, and forces them to work harder to hit their target.

Finger tips and finger pads

Not just that, but small touch targets can lead to touch errors. When small touch targets are grouped near each other, users can accidentally hit neighboring targets and initiate unintended actions. This is because the user’s finger overlaps on to the neighboring buttons. And if pressure is not carefully applied in the right spot, it’ll trigger the wrong action. It’s easy for users to make these errors with their index finger. But it’s even easier for them to make these errors if they use their thumb, because their thumb is much larger than the target. Sometimes users will tilt their thumb sideways and use the thin side to hit a small touch target. But this is a lot of unnecessary work.

Finger and thumb targets

Thumb use among mobile users is popular. Some users won’t always have two hands free when they’re on their mobile device. Many prefer the convenience of using only one hand and their thumb. Users shouldn’t have to switch from using one hand to two hands, or from their thumb to their index finger to hit a target accurately. And more importantly, the size of a target shouldn’t cause them to make touch errors. Small touch targets make things harder for users, where a finger-friendly target does not.

Pixel Width of the Average Index Finger

An MIT Touch Lab study of Human Fingertips to investigate the Mechanics of Tactile Sense found that the average width of the index finger is 1.6 to 2 cm (16 – 20 mm) for most adults. This converts to 45 – 57 pixels, which is wider than what most mobile guidelines suggest.

57 pixel target

A touch target that’s 45 – 57 pixels wide allows the user’s finger to fit snugly inside the target. The edges of the target are visible when the user taps it. This provides them with clear visual feedback that they’re hitting the target accurately. They’re also able to hit and move to their targets faster due to its larger size. This is consistent with Fitt’s Law, which says that the time to reach a target is longer if the target is smaller. A small target slows users down because they have to pay extra attention to hit the target accurately. A finger-sized target gives users enough room to hit it without having to worry about accuracy.

Pixel Width of the Average Thumb

There are many users who use their index finger to tap mobile targets. But there are just as many users who use their thumb as well. The big difference with the thumb is that it’s wider than the index finger. The average width of an adult thumb is 1 inch (2.5 cm), which converts to 72 pixels.

72 pixel target

For users who use their thumbs, 72 pixels does wonders. They’re easier and faster to hit because they allow the user’s thumb to fit comfortably inside the target. This makes the edges visible and easy to see from all angles. This means that users don’t have to reorient their thumb to the very tip to see it hit the target. Nor do they have to tilt their thumb to the side to hit it. One tap with their thumb pad is enough to do the trick.

A Target Size Study for One-Handed Thumb Use on Small Touchscreen Devices found that user errors declined as the target size increased. Users were able to tap the target faster without having to make intentional physical accommodations to increase accuracy such as reorienting the thumb, which would have slowed performance.

Another study on Touch Key Design for Target Selection on a Mobile Phone also found that the number of errors decreased as the touch key size increased. In addition, it was provided that the larger the touch key size, the higher the success rate and pressing convenience.

Finger-Sized is Ideal, But Not Always Practical

As many benefits there are to using finger-sized targets, they’re not always practical in every situation. On a mobile device, you’re working in a limited space. This means when you have many finger-sized targets together, they can take up more space than your screen can afford. However, when you have a few finger-sized targets together, that’s when you can fit them all on your screen without trouble. You will need to measure the size of your screen and touch targets to know exactly how big of a touch target you can afford. If you can’t afford finger-sized touch targets on your interface, use the guidelines the mobile platform gives you instead.

Finger-sized targets are much easier to apply on a tablet than a mobile device because there is more screen space available. You can use them liberally without the fear of taking up too much space and improve tablet usability instantly. However, mobile devices are where users have the most trouble hitting touch targets. And that’s where finger-sized targets are needed the most. The challenge for designers is to figure out how to make the most of finger-sized targets on the mobile screen. This might require using less touch targets than you normally would. But this is a plus because it forces designers to keep their navigation simple and minimal.

Thumb-Sized Targets for Gaming Applications

Another thing to think about is when to use a thumb-sized target over an index finger-sized one. It’s difficult to know whether most of your users will use their thumbs or index fingers on your application. However, if your application is a game, it’s likely most users will use their thumbs to play instead of their index fingers. This is why thumb-sized targets are particularly useful for gaming applications. By making your game control targets thumb-sized, users can play the game with better handling and control. They’re able to see the game control targets as they move their thumbs, and the game will feel more adaptive to them.

It is without a doubt that matching your touch target sizes to the average finger size improves mobile usability for many. Whether your application is a game or any other, touch targets are designed for users to tap. If the user has to take their attention away from using your application to the way they move, orient or arc their finger to tap a target, it degrades their experience of your application. With this new-found insight, you can create applications that are truly finger-friendly. Finger-friendly design isn’t reserved for the few. It’s a new design standard for mobile applications to follow everywhere.

(al)(fi)


© Anthony T for Smashing Magazine, 2012.


Colors of Spring: Color Palettes from Spring Flowers and Foliage


  

As the icy grip of winter closes in tighter many begin to dream of spring. That time of renewed growth and warmer days that tends to draw us back outside and into nature’s waiting open arms. With the seeming promise from the old groundhog that we will more than likely be seeing a few more weeks of winter, we thought our readers could use a little piece of spring a bit early.

So we have prepared an inspiring showcase of not only photographs which highlight the colors of spring, but we’ve also created color palettes from the pics of spring flowers and foliage. So take a look below, and fill up on the palettes and creative energy that Spring has to offer. We hope you enjoy these colors of renewal.

Colors of Spring

spring by zaclab

Spring is coming by Eredel

spring by miyavik

Untitled Nature I by mindCollision

Floral Bells Blossom and Ring I by johnchan

… colours of spring … by pho-t-ographic-s

Spring Flowers V by BreeSpawn

Spring Bee by firelupe4ever

ROSE by Uthatsir

Spring by Thomas Quine

Spring by Nha Le Hoan

Spring Garden – April 2011 – Exotic Tulip with Bokeh by Gareth Williams

Spring Pine Cones by FlackJacket2010

spring blossoms by Craig Cloutier

Spring!!! by Benson Kua

Spring by Claire

Spring has Sprung by Steve Jurvetson

Spring Tree by Maciej Lewandowski

Spring by chema.foces

TWO HUNDRED + SEVENTY SEVEN by abrupt-downfall

Redbud Romance by kohaku-dono

The seeds of spring by Yoonett

Sprig of Flowers by liquidnonsense

Spring Flowers IV by BreeSpawn

Spring 0001 by Goppo713

Spring Greeting by Parvin

First Day of Spring by Amanda Slater

Spring Gentian by Alexandre Duret-Lutz

blue-spring-flowers by Forest Wander

Spring has stepped into my little patch… :) by S Pisharam

(rb)


Bartelme Design 2012

Good things come to those who wait… they say. After more than five years I finally found the time to update my website. I know it was way overdue. It's not that I lost interest in my website, it's just that I was really busy working on lots of awesome projects.

Free Photoshop Alternatives For Editing Photos


  

Photoshop has been the darling of the design industry for decades. It’s a fantastic program that has led the way since the release of Photoshop 1 on the Mac way back in 1990.

However, not everyone can, or wants to, pay the $699 that Photoshop costs. Thankfully there are a lot of free Photoshop alternatives available for photo editing. Some of these are very basic and are suitable more for only basic photo editing, whilst others are feature rich applications that give Photoshop a run for its money.

Today we would like to show you some of the best free photo applications that are available online.

The Free Alternatives

1. GIMP
Windows, Mac, Linux, FreeBSD, Solaris, AmigaOS

The GNU Image Manipulation Program is a great application that was created for photo retouching, image composition and image authoring. Written on Unix, GIMP is arguably the most popular alternative for Photoshop available today.

GIMP

2. Gimphoto
Windows, Linux

Gimphoto is a modification of the GIMP graphics program that aims to present a more user friendly interface. The layouts are more similar to Photoshop, making Gimphoto a popular choice for those who are switching from it. It’s currently only available for Linux and Windows though a Mac version is available.

Another GIMP modification that aims to make things easier for former Photoshop users is GIMPshop. Unfortunately, someone hijacked the GIMPshop domain, resulting in a dispute between the original developer and the hacker who was profiting from hijacking the domain. This is one of the main reasons the application is no longer developed.

Gimphoto

3. PhotoPos Pro
Windows

PhotoPos Pro is a rich photo editor that has support for most picture file types and support for digital scanners. It also features image enhancement, text tools, layers, masks and special effects.

The pro version of the script used to retail for $59.90 (with a lite version available for free) but it has since been released as Freeware (apparently due to thousands of requests).

PhotoPos Pro

4. Photoshop Express
Online Service

Can’t afford the high price of Photoshop? You may be pleased to know that Adobe offers a free basic version of the script online. The editor allows you to edit your photos online with ease. You can resize, crop and rotate, reduce red-eye and saturation, adjust white balance, fill light and much more. You can also apply effects to photos such as pixelate, tint and crystalize.

Photoshop Express is a great choice for basic photo editing and quick touch ups.

Photoshop Express

5. Artweaver Free
Windows

Artweaver Free is a limited version of the artistic application Artweaver Plus (€29). The free version has common editing tools such as gradient and crop, support for PSD files, arrangeable palettes plus image and effect filters.

Artweaver Free

6. Splashup
Online Service

Formally known as Fauxto, Splashup is a free online photo editing tool and manager that has support for layers, filters, brushes, text editing, blend modes and much more. You can import photos from your desktop and from a range of services such as Facebook, Flickr and Picasa.

Multiple photos can be edited at the same time and there is a lite version for mobile PCs available too.

Splashup

7. Aviary
Online Service

A cool online photo editor that lets you edit photos easily. You can crop and rotate images and apply lots of cool effects such as sharpen, blemish, red eye, contrast, blue and much more.

Aviary

There are advanced tools available too (also free) for dedicated editing such as an image editor, vector editor, effects editor, image markup, music creator, audio editor and screen capture.

Aviary

8. Inkscape
Windows, Mac, Linux

A vector graphics editor which boasts that it has similar capabilities to Illustrator, CorelDraw and Xara X. It saves files in the Scalable Vector Graphics (SVG) format. It should be considered as a compliment rather than an alternative to raster graphic editors such as Photoshop or Gimp for most tasks, though it has adopted some common photo editing tools such as blurring etc.

Inkscape

9. Photoscape
Windows

A basic photo editor that lets you fix and enhance photos. It has a lot of interesting features such as support for animated gifs, a splitter which divides a photo up into several pieces and attaching multiple photos vertically or horizontally to create one final photo.

Photoscape

10. PhotoPlus Starter Edition
Windows

PhotoPlus Starter Edition is a limited version of PhotoPlus X5 ($89.99). It comes with a lot of great tools that help you adjust photos and give them a complete makeover. Through PhotoPlus you can repair old and damaged photos, remove objects from a photo, smooth skin, whiten teeth and much more.

PhotoPlus

11. Seashore
Mac

A beautiful image editor that supports gradients, textures and alpha channel editing. You can compare the current image to the last version of it saved, and can save in SVG, PSD and PDF file formats.

Seashore

12. Paint.NET
Windows

A great program that evolved from Microsofts famous Paint application, Paint.NET supports layers, special effects, unlimited history and more. It uses an intuitive tabbed interface that shows live thumbnails of the opened image rather than text. It also has a very active support community.

Paint.NET

13. Darktable
Mac, Ubunut, Fedora, Opensuse, Arch, Gentoo

One of the only applications that isn’t available for Windows, Darktable is a feature rich photo editing program that supports lots of special effects and correction tools. It has support for 15 languages and the export system works with Picasa, Flickr, email attachments and more.

Darktable

14. Photofiltre
Windows

An image retouching program that allows basic or advanced image editing. It supports over 100 filters and lets you use useful preset selection tools such as ellipses, triangles, rounded rectangles and more.

Photofiltre

15. VCW VicMan’s Photo Editor
Windows

A basic image editor that supports over 30 types of file formats and 100 transformations, filters and effects. Photoshop compatible filters are supported too.

VCW VicMan's Photo Editor

16. PaintStar
Windows

An image processing application for editing and retouching photographs. Image morphing, multiple layers and screen capture are supported and it supports more than 30 file formats, 100 effects and filters.

PaintStar

17. Picnik
Online Service

A simplistic online photo editing service that lets you modify images with one click. Basic edits like rotation, resizing and cropping as well as changing exposure and colors and sharpening the image, are all free. More advanced effects and edits are only available to premium users ($24.95 a year).

Picnik

18. Cinepaint
Windows, Mac, Linux, FreeBSD and NetBSD

An offshoot of GIMP, CinePaint has been used on many Hollywood films such as Spiderman and The Last Samurai to touch up frames.

Cinepaint

19. Pixlr
Online Service, Windows, Mac, Mobile Devices

A cool free online photo editing service that works on browsers and a variety of operating systems and devices. Available in 23 languages, Pixlr has the most usable Photoshop features such as color adjustment, special effects, layer support and much more.

Pixlr

20. Picasa
Windows, Mac, Linux

Originally created and sold by Idealab, Google aquired Picasa in 2004 and released it to the world for free. The current version supports easy geo tagging and heavy integration with Google+ that lets you easily tag Google+ friends and share photos through your circles.

It’s user-friendly interface makes it easy to apply basic edits to your photos and touch them up. 12 effects are available and there are additional affects via Picnik too.

Picasa

Do you use any of these free photo editing programs? If so, please let us know in the comments area and let us know the advantages to using the application over others.

(rb)


Beautiful Covers: An Interview With Chip Kidd


  

The work of Chip Kidd spans design, writing and, most recently, rock ’n’ roll. He definitely has the charisma to get ahead in that third field. He is best known for his unconventional book jackets, but he has published two novels of his own: The Learners and The Cheese Monkeys. Uninterested in design trends and fashions, he often draws inspiration from collectibles and memorabilia.

Kidd is now busy creating his masterpiece, a graphic novel born from his lifelong fascination with Batman (he regards himself as Batman’s number-one fan). He has teamed up with comic-book artist Dave Taylor to illustrate the story in an astonishing way, conjuring a Fritz Lang aesthetic with a healthy dose of Kidd’s own sensibility. Batman: Death By Design is set to be released in spring 2012 through DC Comics.

Chip Kidd at the Typo London 2011 conference. (Image: Gerhard Kassner)
Chip Kidd at the Typo London 2011 conference. (Image: Gerhard Kassner)

Until then, here’s an interview with Chip Kidd, previously unpublished in English, that will get you into the mind of one of design’s most original and charismatic practitioners.

Q: How did you get into the business of jacket design?

Chip Kidd: It happened to be the first job that I was offered. I studied graphic design in Pennsylvania, where I grew up, but I knew that when I graduated I would go to New York. So, I did. I just went to every graphic design place that would see me, but eventually ended up at Random House. And it was an entry-level job, as assistant to the art director. Well, it wasn’t really what I had in mind, but I tried it for a while. It gave me a start, and it’s 24 years in October.

One of Kidd's most recognizable covers. His artwork was adapted for a $1.9 billion movie series that you might have seen
One of Kidd’s most recognizable covers. His artwork was adapted for a $1.9 billion movie series that you might have seen.

Q: How did your persona in the design world emerge?

Kidd: The thing about book covers, I think probably in most parts of the world, is that the designer gets credit on the jacket for what they’ve done. For most graphic designers, that’s not the case, in terms of how it works in print or TV commercials; you don’t see who made something on the piece itself. But in graphic design, you do. What was getting out there was the work itself. Over time that built up, to the point where people started to recognize my name.

Q: Did it take you a long time?

Kidd: It seemed long at the time, but it probably took two or three years, which in retrospect isn’t that long at all.

Q: Was that in the beginning of your career?

Kidd: Well, I started in 1986. I started working right away. I wasn’t doing a lot of designing at first — it was more doing the assistant stuff. But I started actually designing after six months or something like that. It seemed, in retrospect, to happen quickly or right away.


For David Sedaris’ Naked, Kidd designed a wraparound featuring boxer shorts that, when removed, reveals an X-ray of a pelvis.

Q: What about the chain of command? In your talk at Typo Berlin 2009, you joked about issues with editors, editors in chief, authors, marketing people. Do you find that challenging or frustrating? Or do you expect people to just listen to you?

Kidd: I think it’s good that I am being constantly challenged. I think that’s important for doing good work. If people liked everything I did just because I did it, as opposed to whether it was actually good or not, that would be a problem — both for me and for them. What I don’t like, and I don’t know any designer who does, is when you feel that you’ve done the right work and then it gets rejected, for whatever reason. And then you have to go back and redo it, and you think you’ve done it well, and that gets rejected, too.

So that, I think, is a kind of challenge I don’t like, frankly because it doesn’t always seem to be about whether it’s the right design or not — it’s about some sort of political situation within the job; for example, everybody likes it, but the author doesn’t.

Q: So, marketing people and clients often make your life hard. Does it get better as you go on?

Kidd: It doesn’t seem to. [Laughs] On the one hand, yes, it gets better because I’ve gotten a reputation as someone who knows what they’re doing, and so a lot of authors will go along with that. Then you build up trust with an author if you’ve worked on their books for a long time. That part of it is fine. But then there’s this other area where things get rejected by publishers for various reasons that I either understand or don’t. Or I deal with people rejecting me directly, which is very frustrating. That part, for me, hasn’t gotten easier.

Books are very… Each book is in its own way unique. It has its own set of problems, own set of circumstances, and that doesn’t seem to change. So, there will always be an idiosyncratic nature to the work.


Kidd’s own literary debut was a novel set in a design department at a university in the 1950s. He saw the cover as an opportunity to use graphic devices that he wasn’t able to get away with when working on other people’s books.

Q: Speaking of marketing, people will often want books to be, say, red in order to sell more. Browsing your website, I realize you don’t seem to believe the cover sells the book. Do you see the cover as part of the book?

Kidd: It is a part of the book. It’s literally your first impression — it’s the book’s face. Regardless of what kind of book it is, this is the way you’re going to visually preserve it first before you open it. But this doesn’t have much to do with someone buying it. People tell me they buy books for their covers. But it’s not a sales tool in the sense of you’re going to buy it because you like that cover. Really, what the cover should do is get you to open the book and start to read it and investigate it. And at that point, the book is going to sell itself to you, or not.

I very much try to downplay the jacket as a sales tool, because I think that publishers invest too much intellectually in this concept, and they can actually make my work much, much harder than it needs to be. And certainly with the advent of buying books on the Web, you’re not going to buy a book from Amazon because of the way it looks. It’s just not the nature of how that works. The problem arises when you get a bunch of people in a room looking at a jacket and determining the fate of the design based on preconceptions of how the book will sell, about how this design will help the book to sell.

Q: Does this lead to a battle with marketing, whose job it is to sell books?

Kidd: Yes, it can — and I think often needlessly so. You know the idea: men will buy a book with a woman on it.


For his first monograph of book cover designs, Kidd did the unexpected and featured an open book on the cover.

Q: Do you try to solve such problems diplomatically?

Kidd: Diplomacy is always the best way to go, in almost any situation in life I think. But usually, I am working through an art director, who is dealing with the marketing people directly. And then the marketing people will talk to our editor in chief, who will then talk to us. It’s rare that I deal with them directly.

Q: What about typography? What’s your view on modernist book jackets (the kind you see from Switzerland) and typographically rich covers.

Kidd: It’s hard to talk about these things in general. Personally, in terms of my typography, I think it’s pretty conservative and not very adventurous, because I worry about something looking trendy. Most of the books I do are hardcover books that are meant to be kept for a long time. I’m always thinking, what will this look like in a year? What will it look like in five to ten years? And of course, it’s impossible to know, but you have to try and envision that.

Which is not to say everything should be boring and predictable — there are ways to be creative with it. Personally, I’m much more inventive with the imagery than with the typography. An image will be more powerful than the words or the title. Or if you play around, you can create a tension, an interesting puzzle for the reader to solve. And that’s much more about the imagery than the type.


Kidd got a chance to indulge his obsession with Batman, working here with photographer Geoff Spear to showcase a wide range of collectibles celebrating the Caped Crusader.

Q: Do you try to avoid fashions?

Kidd: In a way, yes. Personally, I feel I never know what’s fashionable anyway. I see what people are doing, and sometimes I see typography that I think is really interesting, and I think I wouldn’t be able to do that even if I wanted to. Which isn’t a criticism, just an observation. My skills with type are extremely limited. In terms of fashion, I don’t know what it means from one minute to the next.

Q: How do you manage living in a big city and resisting the fashionable influences around you?

Kidd: I don’t take myself out of it. I just observe what people are doing, and I do something else. I go against it. This is one of the things one of my teachers at school told me: find out what everyone in the class is doing, and then do something completely different. And that has always made perfect sense to me.


Kidd is a master of letting photography do the heavy lifting. While working on a book with Geoff Spear, he discovered an image of a scuffed bird shot with a macro lens. It came in handy when Kidd later designed Haruki Murakami’s novel, The Wind-Up Bird Chronicles.

Q: What’s your favorite form of expression (not necessarily design-related)?

Kidd: I’ve written two novels. Those to me are much more personal than me doing a book cover for somebody else. I don’t see somebody else’s book cover as a very personal form of expression. If it was, I would be taking advantage of the writer, I think unfairly. And it is perceived that way — “Oh, this is your art!â€� — like somebody else’s book cover is my art. Which technically may be true, but it shouldn’t come out that way. It should come out as me trying to serve their art, as opposed to me trying to serve myself.

Q: Sounds similar to the differences between the artist and the designer.

Kidd: I’ve always seen a strict division between the two. Somebody will ask me what I do, and then say, “Oh, you’re an artist.� And I say, “No, I’m a designer.�


For a novel about parents breeding children in order to maintain a carnival sideshow, Kidd used striking typography with a vibrant orange.

Q: What’s your view on ugliness?

Kidd: The same as my views on beauty. They’re extremely subjective. It’s very hard to say. Something that I find very ugly others find very beautiful, and the opposite. It’s very hard to articulate that.

Q: What’s so fascinating to you about memorabilia, comics and other collectibles?

Kidd: I appreciate them as aesthetic objects. But there’s also a nostalgic value to them — certain things I had as a child that I really enjoyed that I lost or broke. Then you become an adult and try to reclaim that. Now eBay makes that more accessible than ever. But I genuinely do get an aesthetic pleasure out of these objects, which is [expressed through] the Batman collected book that I put together, which has Batman toys from 40 years ago.

Q: So, you’re a collector?

Kidd: Oh, yes.


One of Kidd’s most striking covers, designed for the fourth installment of Osamu Tezuka’s award-winning Buddha series.

Q: What other forms of art you enjoy? I’ve spotted elements of popular art in your work. Do you identify with what was going on in New York City in the ’50s and ’60s?

Kidd: I’m definitely affected by it. But I have very strong opinions about it, in that I think somebody like Roy Liechtenstein basically is a fraud who got everybody to buy into what he was doing. And paintings about comics became far more important to critics than the comics themselves. I’m much more interested in the comics themselves. I couldn’t give a shit about a decontextualized panel that was stylized by this person. But everybody bought into it, amazingly.

Similarly, do I think Warhol was a great artist? Yes. But should he have given half the money to the guy who actually designed the canvases or the Brillo box or any of that other stuff that he totally appropriated? It’s based on something that somebody else made — that person should get credit, too. And they didn’t. I’m very much against that. It’s an abuse of the original designer.

Q: What would you do if the book format dies?

Kidd: I know, that’s an increasingly vital question. I can’t really say. I don’t know. If that’s eventually what happens, I’ll figure it out once I get there. I don’t believe that people want to read books on the screen. I think some people are… I just don’t think it’s going to go the way the music LP and CD went. It doesn’t have that function in the culture. But even eBooks — they have some kind of visual thing for their cover, so who knows? Maybe that’s what I’ll be doing. If I haven’t killed myself by then.

(From Typo Berlin 2009)

A special Thank You to our Typography editor, Alexander Charchar, for making this interview possible.

Proofreaders: (al) (il)


© Spyros Zevelakis for Smashing Magazine, 2012.


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