Used in situations where two adjacent characters would bump into each other, there are two types of ligatures, standard ligatures and discretionary ligatures.

Most people are acquainted with the ampersand, the celebrity of the ligature world, but that is comparable to the ability to identify Jim Morrison–it doesn’t mean you know the entire Doors discography nor the history of Classic Rock. Knowledge of design holds a certain amount of cultural capital in our society, and although some seem to have a certain proclivity for it, for most it takes effort, training and practice to speak it fluently.

We had a recent situation where a client wasn’t versed in design language and we failed to interpret. In this particular situation, the kerning (space between letters) came into question. Actually, the design had been kerned, but it was re-kerned and resubmitted only to have it returned with the same comment. As a designer being able to take criticism is a required skill, but there is no guarantee that a client has the vocabulary to communicate the issue. Resolution finally came when we switched to the telephone and were able to ask the client to point out the problem, it turned out that the “letter spacing issue” was that the “f” and “i” were touching.

It was a ligature.

To us, it was design love and attentiveness; to them, it looked like an error. We were speaking different languages. The fact that the client did not know what a ligature was flew under our radar, but had we stepped back from their initial comment and considered its context we may have saved time and irritation for us all.

So why hasn’t the ligature passed into the realm of common visual vernacular? Why don’t they feel as natural to clients as layouts designed with the golden ratio? One reason ligatures have not saturated the designscape is that in recent history many typefaces did not included them, so the designer had to choose to change faces, or create them by hand. However, with the dominance of OpenType, this seems to be a problem of the past as many typefaces are equipped with a large variety ligatures. Another force working against the pervasiveness of the ligature is the designer’s nightmare–the dreaded word processing program. Fortunately, fixes have been created for Pages and you can now choose to “use ligatures” and Microsoft Word 2010 has added support for OpenType ligatures, (for help enabling them you can find a tutorial here).

Technical functionality is not the only hinge when it comes to ligature use; personal taste is also a factor. To some, the use of ligatures is on par with the choice of serif or sans. With roots in early writing, some see ligatures as carrying a certain rare elegance, adding class and refinement to text. On the opposing side, some view them as antiquated, traditional and superfluous. Lovers of the ligature will argue that they are not merely ornamental, but efficient, replacing two letters with one and simultaneously increasing legibility–exuding the modern ideals of form following function.

Ligatures are a decision that every designer must make for themselves. To me, they are something special; so efficient, so thoughtful, so graceful, so salacious–and when I come upon them in life, I can’t help but smile, as I imagine two letters making love.

So we pose the question to you, are ligatures an element of typographic style you cannot live without? Should we as designers come together and create guidelines for their use? Or, are they archaic and a tradition that needs updating or better yet, to just go away?

Jim Rimmer died last week and I really wasn’t sure I wanted to post anything online after writing a tribute post for my recently deceased friend Leo Obstbaum. Losing people takes the wind right out of your sails. Then I found the following letter which was part of the nomination a group of us submitted for the Order of British Columbia last year. Unfortunately Jim was not selected as a recipient.

Dear Eric,

It was very nice to speak with you recently and learn of your nomination of our friend Jim Rimmer for the Order of British Columbia. As you know, I was the Executive Officer with the Society of Graphic Designers of Canada who nominated Mr. Rimmer for a Fellowship within GDC—our highest honour in the nation within the profession of graphic design. I did so in order to recognize and bring honour to this man and his remarkable achievements and contributions to our profession and industry.

I am convinced that Jim Rimmer is one of Canada’s living national treasures, and one of the finest British Columbians I have ever had the pleasure to meet. He’s so much more than the designer, illustrator, printer, publisher, and one of the few remaining typography and letterpress craftsmen alive today. He has been a teacher, a mentor, a kind friend, and inspiration to a very long list of printers, type designers, publishers, students, teachers, design firms, type foundries, and book lovers throughout his long career—a career that has lasted six decades and is still going strong.

Mr. Rimmer is an example of what dedication to a craft can accomplish. He is an amazing, creative, faithful traditionalist, but managed to remain relevant by fearlessly embracing new technologies that may have seemed at the time to render his previous training obsolete. Yet all the while he has managed also to keep alive the craft of hot type, hand-cut prints, letterpress lithography. Jim’s books and prints feel good, they smell good, they read well. His books are cherished by many as not only things to read, but things to admire and enjoy. Jim is one of the only remaining masters and should be cherished.

But that’s not the only reason I feel Jim deserves recognition. Jim has inspired many young people to rediscover the craft behind his type, prints and books. He has inspired numerous generations of designers; designers who now work as the visual storytellers of culture. Those creative professionals are now spread across this land and across the world, each of them remembering the lessons that this quiet man who showed them the way. The way it used to be done: by hand. But also showed them how the skills of that craft are relevant today in this fast-paced world of computers and digital media. The day we lose Jim Rimmer will be a sad day indeed, but he will leave behind a lasting legacy and an army of design practitioners better for having known him.

And to know Jim Rimmer personally is truly a pleasure. He’s such a generous and humble character, always respectful, encouraging and kind, often going to great lengths to help others with no need for credit or recognition. Many have described him as a maverick, a renegade even, quietly following his own path. And that too is a great quality that many British Columbians can proudly relate to.

I am humbled when I consider Mr. Rimmer’s history and contributions as both a craftsman of old as well as an innovator with creative genius, and wish to enthusiastically support your initiative in nominating him for the Order of British Columbia. He is a shining example of what the caliber of person I wish British Columbia to be known for.

Note: The typeface this letter is composed in is Jim Rimmer’s Albertan, named after his lovely wife Alberta, which he first hand-engraved for his private press in 1980.  It’s still as wonderful a face now as it was nearly 30 years ago.

We miss you Jim.

[photo credit Robert McCamant/The Caxtonian]

Big news in the web world as Typekit was launched last week. For those of you who missed news of the launch, it serves to bridge the copyright issues associated with the CSS3 Property @font-face (hotly debated issue among foundries and developers recently). Solutions like sIRF and Cufon have greatly pushed the industry in this direction and, while we have used them on projects, they have limitations, particularly when it comes to body copy. The hole with @font-face is that it makes it possible for the end user to download the font in question, which in virtually every instance violates the license.

The concept behind Typekit harnesses @font-face but protects the font files on a separate server. The designer/developer/client would purchase a license (per site? per month?) to use the font. With an expected to launch sometime this summer, the major draw back seems to be the issues surrounding the storage of the font information on a different server from the website. (required to satisfy DRM licenses) The anticipated problem with this surrounds the issues associated with the uptime (and downtime) of this font server. No server is up 100% of the time, it just doesn’t happen. But what happens when this server goes down? Potentially all websites linking to this central database will lose their font definitions.

Sharing code snippits on a central server hasn’t presented a prohibitive problem in the past as the jQuery library, CSS Resets and other snippits are all available hosted on a central server and used on major sites world wide and downtime hasn’t presented itself as a problem. Although we might be comparing apples and oranges between Google’s servers and Typekits. Time will tell. Certain some exciting developments for sure!

It’s like Communication Design class all over again.

Take a peek at these sexy pieces for the Grammy’s “Celebrate the Music That Made Us” campaign.  The portraits of select artists (Rihanna, Stevie Wonder, Coldplay, Thom Yorke, etc.), are made up of song titles that inspire them. Not sure who produced the artwork but you can view more here and here.

With such great use of typorgraphy, even I’m inspired to catch the Grammy Awards on Feb. 8th.

Thanks to Jason Murphy for the link.

Here’s a little treat for users who spend hours finding just the right typeface.

Flipping Typical is magical. An online tool that give you the ability to enter a word or phrase and view the different variations using fonts in your computer. To learn more about how to use this site, click on the “WTF?” on the top right corner.

I could have used this last night/morning… Thanks Andrew for sharing!

I love books — beautiful books not the ones with shabby covers. I must admit that sometimes I buy a book for its cover rather than for its content. I don’t  lend my books easily, they look too cool on my shelves. And I love Penguin books. Coralie Bickford-Smith, a designer working for Penguin, has designed these hardcover classics and they’re just gorgeous. Sadly, they’re sold exclusively in the UK…Me want one!!!

Buenos Aires isn’t the first place I think of when I consider type foundries, but Studipos has some brilliant fonts. Check em out.