Johs Krejberg Haahrin2K/STORIESWhy would you even consider your own corporate typeface?Or (if you found that title boring): How a frantic visual media culture makes typographic finesse a mandatory part of branding.Nov 5, 2018Nov 5, 2018
Johs Krejberg Haahrin2K/STORIESTypeFacial expression - text that smilesWhen we learn to read the area of our brain formerly used for object and face recognition is recycled for the word recognition. Clever!Jun 6, 2018Jun 6, 2018
Johs Krejberg Haahrin2K/STORIESHow to (not) make a digital text with leather-binding and gilded edgesOr: A theory on designing the digital “re-mediation” of printAug 25, 2017Aug 25, 2017
Johs Krejberg Haahrin2K/STORIESStock Exchanges & CathedralsHow the obligation to innovate can make peace in the tug-of-war between the “stock exchange and the cathedral wing” of a publishing house.Feb 20, 20171Feb 20, 20171
Johs Krejberg Haahrin2K/STORIESPulling Forth the Potential of the TextHow Ange Romeo-Hall, managing editor at Cornell University Press, envisions the future of (academic) publishing.Nov 17, 2016Nov 17, 2016
Johs Krejberg Haahrin2K/STORIESThe Bible on the BibleTo keep saying the same, one needs from time to time to say it differentlyNov 1, 2016Nov 1, 2016
Johs Krejberg Haahrin2K/STORIESBook of KellsThe Original Art Journaling Bible for Monks™ and some words on the fantastic insular majuscule script therein.Sep 28, 2016Sep 28, 2016
Johs Krejberg Haahrin2K/STORIESIntroducing J. Mark BertrandAn interview with a man who has described limp bindings in terms that fall not too short of the Song of SolomonAug 12, 2016Aug 12, 2016
Johs Krejberg Haahrin2K/STORIESInteractions of the Reading MindOn the three different levels at which readers are interacting with texts — and what this means for the design of digital publishingApr 17, 2015Apr 17, 2015
Johs Krejberg Haahrin2K/STORIESGustave Doré, un artisteFrench, child prodigy, oil and aquarelle painter, engraver, sculptor, violinist, mountaineer and the most famous illustrator of his timeMar 3, 2015Mar 3, 2015