〔按：這是我為香港理工大學副教授郭斯恆的著作《香港造字匠2》寫的序。點擊此處購買。〕
對一般文字處理軟件的用戶來說，要把字體「弄斜」，輕輕點擊一下「I」字圖示便成了。斜體（或稱「意大利體」，兩者其實有所不同）背後的歷史、意義和設計風格卻很不簡單。
‘An interview with PolyU Design (Keith Tam)’, in Design 360°, issue 51 (the type issue), June 2014, pp.26–33
Design 360°: School of Design has just moved into the Jockey Club Innovation Tower, the latest landmark of Hong Kong. Congratulations. The building…
This has been circulating around in social media today, and I find it necessary to put things into perspective.
This may be good science, but it’s poor application of science to a typographic problem. This 14-year-old completely…
蘋果電腦今天發佈了全新的iOS7操作系統。不出所料，界面設計秉承自Windows Metro後流行的極度扁平化風格。界面的操控，再不倚賴模仿實物機械操作的「擬物化」（skeuomorphic）視覺語言，進而發展至幾乎全無立體感的扁平化設計。這次升級，仿皮革紋理的行事曆不見了，稍微凸起的按鈕消失了，以至半透明的對話框都沒有了。當然，我要討論的，不是風格或潮流，而是這扁平化界面設計的互動體驗和信息設計的關係。
Your attention, please: how to appeal to today’s distracted, disinterested, disengaged, disenchanted and busy consumer by Paul B Brown and Alison Davis
Written by a journalist and a communication consultant, Your attention, please is a…
Here are some slides from a lecture I give to my typography students on text typography. It demonstrates the dos and don’ts of detail typography in terms of orthography and typographic style, as well as alignment and hyphenation and justification…
