This book is about how type should look and how to make it look that way--in other words, how to set type like a professional. It explains in practical terms how to use today's digital tools to achieve the secret of good design: well set type. An essential reference for anyone who works with type: designers, print production professionals, and corporate communications managers can go to straight to the index to find focused answers to specific questions, while educators and students can read it as a text book from cover to cover.
Books depend on good design to communicate. This practical guide to typography explains the principles of good design, why they exist and when and how to put them into practice.
Typography is language and design for reading. Typographic manual is the first manual for the cluster text style, i.e. for texts intended to be read for longer periods of time. Since the birth of typography (Gutenberg), we have created books with text rectangles that are nice to look at. The picture of the rectangle text held us captive. This manual clearly shows the inaccuracies in that approach. Depending on how we read, 100-600 wpm, and if we measure reading speed in wpm, day span, or week span, the cluster text style can be 5-30 percent better to read. Its longer line length, wider text column, larger sentence spacings, and better line changes improve legibility. All in all, this gives an exact typographic style, and therefore, it is not reflowable. So, please note that this book needs to be read on tablets at least 13 inches wide where you can read a line length of 95 characters (smaller tablets and smartphones are inappropriate). Typographic Manual (170 pages) is included in a collection of books with Readability - the Birth of the Cluster text (1000 pages), Typographical Investigations (500 pages), and Are Texts Wrongly Written? (130 pages) intended to shed light on questions about texts, typography, and reading in relation to questions about philosophy, science, and learning. The two shorter books can be seen as summaries of the two longer ones, and they are all written for the general public. The starting point is that it is both practically and philosophically interesting that we earlier have missed the opportunity to create a better typographic style - a cluster text style.
Explore the fundamentals of typography with this practical new guide. An instructional reader rather than historical survey, Design Elements: Typography Fundamentals uses well-founded, guiding principles to teach the language of type and how to use it capably. Designers are left with a solid ground on which to design with type. Limitless potential for meaningful and creative communication exists—this is the field guide for the journey!
The fourth edition, fully revised enlarged and reset in 2012, further updated in 2017. Version 4.3 of the 4th edition (2019) includes many updates; see title page verso for a list of pages.
The origin of the ubiquitous typeface Celebrated printer and type designer Giambattista Bodoni set the standard for printing the alphabet with his Manuale Tipografico (1818). The two-volume set--published posthumously in a limited edition of 250--features 142 sets of roman and italic typefaces, a wide selection of borders, ornaments, symbols, and flowers, as well as Greek, Hebrew, Russian, Arabic, Phoenician, Armenian, Coptic, and Tibetan alphabets. Official printer for the Duke of Parma, Bodoni (1740-1813) declared that well-designed type derived its beauty from four principles: uniformity of design, sharpness and neatness, good taste, and charm. His typefaces display an unprecedented degree of technical refinement, and epitomize purity and grace. The culmination of more than four decades of work, the Manuale Tipografico represents one of history's greatest typographical achievements. The Bodoni typeface is still widely used even today, both in digital media and in print, and TASCHEN's meticulous reprint of Bodoni's masterwork gives readers a rare opportunity to explore the origins of the Bodoni typeface and learn about its creator.
One hundred typographic pages are exhibited in this book, consisting of alphabets and quotations printed in various type styles. The quotations selected by the author concern types and printing, are from the past and the present, and are in 16 languages (translations are provided). Hermann Zapf is a noted type designer and he himself originally devised many of the type faces used here. Other faces were taken from the fonts of the Stempel foundry in Frankfurt/Main and historic faces came from that foundry's archives. The author has also designed the page layouts, choosing for this manual a horizontal format. The purpose of the manual is "to show the myriad possibilities of the expressiveness and beauty of type, whether individually or in massed text, by the use of purely typographic means." The original English edition of this work was limited to 1000 copies. In making it available to a larger audience, Paul Standard's comment, printed in the original, becomes more pertinent still: "In a world grown noisy and clamorous, reading remains among the very few quiet pleasures left to man. The present work hopes to be considered an attempt to bring a body of critical and expository comment to the widest circle of readers—comment upon every contributory element in bookmaking and printing generally, upon the design of letter forms and their disposition on the page. The very sight of so many different languages on these successive pages is itself a humanizing experience, suggesting as it does a striving for unity while preserving linguistic diversity by means of the printer's art." This "critical and expository comment" has been culled from a wide international range of writers, including both masters of literature and masters of the art of printing.
Using a combination of explanatory text, step-by-step photographs and classic and contemporary examples, this unique survey brings together over 80 processes involved in creating lettering and applying it to surfaces. Included are hand-drawn lettering techniques (from sign writing to tattooing); dimensional lettering (hand engraving to laser cutting); typesetting (from letterpress to lettering in food); printing (Letraset to printing on bank notes); lettering on textiles (embroidery to flag-making); and illuminated type (neon signage to holography). Lettering is an essential and exhaustive reference guide for any designer wishing either to create lettering themselves or to commission work from external sources.
This title presents the history, concepts and how-tos of type-setting, presented in easily digestible chunks indexed for quick reference. Step-by-step instructions explain the mechanical processes behind aesthetically pleasing pages.
