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Type Rules: The Designer's Guide to Professional Typography 4th edition [Pehme köide]

3.93/5 (138 hinnangut Goodreads-ist)
(School of Visual Arts, New York, NY)
  • Formaat: Paperback / softback, 320 pages, kõrgus x laius x paksus: 274x208x20 mm, kaal: 816 g
  • Ilmumisaeg: 24-Dec-2013
  • Kirjastus: John Wiley & Sons Inc
  • ISBN-10: 1118454057
  • ISBN-13: 9781118454053
Teised raamatud teemal:
Type Rules: The Designer's Guide to Professional Typography 4th editionSuurem pilt
  • Formaat: Paperback / softback, 320 pages, kõrgus x laius x paksus: 274x208x20 mm, kaal: 816 g
  • Ilmumisaeg: 24-Dec-2013
  • Kirjastus: John Wiley & Sons Inc
  • ISBN-10: 1118454057
  • ISBN-13: 9781118454053
Teised raamatud teemal:
Püsilink: https://www.kriso.ee/db/9781118454053.html
Märksõnad:
"Type Rules!, Fourth Edition is an up-to-date, thorough introduction to the principles and practices of typography. From the fundamentals to cutting-edge applications, this edition has everything today's serious designer needs to use type effectively. Dozens of exercises reinforce authoritative coverage on such topics as how to select the appropriate type for the job, how to set type like a pro, and how to design a typeface, as well as how to fully harness the power of major design packages including theAdobe Creative Suite"--



Type Rules!, Fourth Edition is an up-to-date, thorough introduction to the principles and practices of typography. From the fundamentals to cutting-edge applications, this edition has everything today's serious designer needs to use type effectively. Dozens of exercises reinforce authoritative coverage on such topics as how to select the appropriate type for the job, how to set type like a pro, and how to design a typeface, as well as how to fully harness the power of major design packages including the Adobe Creative Suite.Includes video clips showing examples of projects discussed in Chapter 11- Type on the Web and Chapter 12- Type in Motion

Acknowledgments x
Preface xi
Introduction 1(2)
Chapter One A Brief History of Type
3(24)
Sounds to Symbols
3(3)
Gutenberg and Movable Type
6(2)
The Industrial Revolution and the Mechanization of Type
8(1)
Photocomposition
8(3)
Herb Lubalin and Expressive Typography
11(1)
Into the Digital Age
12(2)
Notable Type Designers
14(8)
Exercises
22(1)
Design Guidelines, Nancy Sharon Collins
22(2)
Typographic Timeline, Ilene Strizver
24(1)
Historical Design, Ilene Strizver
25(2)
Chapter Two From Metal to Mac: Understanding Font Technology
27(10)
What Is a Font?
27(1)
Font Formats
27(1)
Type 1 (PostScript) Fonts
28(1)
TrueType Fonts
29(1)
OpenType Fonts
29(3)
Techtip: OpenType Features
32(1)
Hinting
33(1)
Font Management Utilities
33(1)
Techtip: OpenType Font Identifiers
33(1)
Typetip: Long S
34(1)
Typetip: Font vs. Typeface
34(1)
Exercise
35(1)
Exploring Your OpenType Fonts, Ilene Strizver
35(2)
Chapter Three What Makes a Typeface Look the Way It Does?
37(28)
Parts of a Character
38(2)
Type Categories
40(1)
Serif
40(2)
Sans Serif
42(1)
Scripts
43(1)
Handwriting
44(1)
Blackletter
45(1)
Titling Fonts
45(1)
Opticals and Size-Sensitive Fonts
46(1)
Typetip: One- and Two-Storey Lowercase As and Gs
47(1)
Decorative and Display
48(1)
Typetip: Character vs. Glyph
49(1)
Exercises
Think Like a Type Designer, Ilene Strizver
50(1)
Letter Parts Assignment, Catherine Begle
51(3)
Personal Type Specimen Catalog, Ilene Strizver
54(1)
Type Specimen Book and Typeface Analysis, Audrey G. Bennett
55(2)
Typeface Comparison Book, Joey Hannaford
57(5)
Block Type Project, Erich Doubek
62(3)
Chapter Four Selecting the Right Type for the Job
65(44)
Factors to Consider
65(1)
Design Goals
65(2)
Identify Your Audience
67(1)
Type Size
68(1)
Type Color
68(1)
Legibility and Readability
68(2)
Paper and Surface Considerations
70(1)
Printing Method
70(1)
Low-Resolution Environments
70(1)
What Makes a Good Typeface?
71(1)
Consistent Design Characteristics
71(1)
Legibility
71(1)
Spacing
71(1)
Kerning
72(1)
Even Color and Texture
72(1)
Text vs. Display
73(1)
Type Super Families and Systems
74(3)
Script, Calligraphic, and Handwriting Fonts
77(1)
When the Best Font for the Job Isn't a Font
78(7)
Typographic Illustration
85(4)
Mixing It Up
89(1)
Text with Display
90(1)
Serif with Sans
90(1)
Weight Contrast (Light with Heavy)
91(1)
Width Contrast (Wide with Narrow)
92(1)
Script and Decorative Designs
92(4)
Type Super Families and Systems
96(1)
Dos and Don'ts
97(1)
Typetip: Type Specimen Materials
98(1)
Typetip: What's New on the Font Scene
98(1)
Typetip: A Bodoni by Any Other Name?
99(1)
Exercises
Why Are All the Scary Typefaces Pointy? Christopher Andreola
100(1)
A Garamond Is a Garamond Is a Garamond ... or Is It? Ilene Strizver
101(3)
Six-Word Memoirs Poster, Elizabeth Resnick
104(3)
Real Signage Critique, Amelia Hugill-Fontanel
107(2)
Chapter Five Formatting Your Type
109(28)
Type Size
109(1)
Line Length
110(1)
Line Spacing (Leading)
110(3)
Techtip: Auto Leading
113(1)
Alignment
114(2)
Typetip: Fine-Tuning Justified Type
116(9)
Indents and Other Paragraph Separators
125(1)
First Line Indent
125(1)
Extreme Indent
125(1)
Hanging Indent (r Outdent)
126(1)
Dingbats
126(1)
Line Space
126(1)
Typetip: Standard Ligatures
126(2)
Techtip: Style Sheets
128(1)
Typetip: Footnotes and Endnotes
129(1)
Techtip: Importing Copy
130(1)
Exercises
Typographic Lecture Series Brochure, Karen Cheng
131(3)
Visualizing Poetry, Cassie Hester
134(3)
Chapter Six Typographic Hierarchy and Emphasis
137(24)
Typographic Hierarchy
138(4)
Techniques for Emphasis
142(1)
Italics and Obliques
142(1)
Boldface (Weight Contrast)
143(1)
Underscores
143(2)
Case (Caps vs. Lowercase)
145(1)
Type Size
145(1)
Wide vs. Narrow
146(1)
Changing Typestyle
146(1)
Changing Color or Shade
146(5)
Typetip: Avoid Computer-Generated Styling
151(3)
Exercises: Typographic Hierarchy Study, Elizabeth Resnick
154(2)
Currency Redesign, Jimmy Moss
156(2)
Expressive Typography, Stephanie Nace
158(3)
Chapter Seven Fine-Tuning and Tweaking Your Type
161(18)
Punctuation
161(1)
Quotation Marks
161(1)
Apostrophes
162(1)
Primes
163(1)
Techtip: Unwanted Smart Quotes
163(1)
Hyphens, En Dashes, and Em Dashes
164(2)
Hyphenation
166(1)
Visual Alignment
167(1)
Optical Margin Alignment
167(1)
Techtip: Discretionary Hyphens
168(1)
Techtip: Hung Punctuation and Optical Margin Alignment
168(1)
Horizontal Alignment
168(2)
Vertical Alignment
170(2)
Rags
172(1)
Techtip: Adobe Text Composer
173(1)
Widows and Orphans
173(1)
Typetip: Breaking for Sense
174(1)
Techtip: Glyph Positioning and Baseline Shift
175(1)
Exercise: Editorial Design, Ilene Strizver
176(3)
Chapter Eight Spacing Considerations
179(18)
Tracking
179(3)
Techtip: Adjusting Tracking
182(1)
Kerning
183(1)
Custom Kerning
184(1)
Typetip: Scaling Logos
185(3)
Techtip: Adjusting Kerning
188(2)
Word Spacing
190(1)
Techtip: Adjusting Word Spacing
191(1)
Typetip: Type on a Curve
192(1)
Typetip: Double Word Spaces NOT!
193(1)
Exercise
Spacing, Kerning, and Visual Alignment Exploration, Ilene Strizver
194(3)
Chapter Nine Finessing Your Type
197(18)
Small Caps
197(1)
Techtip: How to Access True-Drawn Small Caps
198(2)
Initial Letters
200(1)
Raised Initial
201(1)
Dropped Initial
202(1)
Decorative Initial
203(1)
Boxed, Reversed, Oversized, and Overlapped Initials
203(4)
Swash Characters
207(1)
Alternate Characters
208(1)
Type and Color
209(1)
Exercises: Information Hierarchy Book, David Kadavy
210(2)
Concert Poster Design, Frank Armstrong
212(3)
Chapter Ten Figures, Fractions, Signs, Symbols, and Dingbats
215(20)
Figures
215(3)
Techtip: Accessing Figures in OpenType Fonts
218(1)
Techtip: Tabular to Proportional Shortcut
218(1)
Fractions
219(1)
Techtip: Creating Fractions in OpenType Fonts
219(1)
Bullets
220(1)
Registered, Trademark, and Copyright Symbols
220(1)
Techtip: Indenting Bulleted Lists
221(2)
Techtip: Circle P
223(1)
Accents and Accented Characters
224(1)
Typetip: Creating Accented Characters
224(1)
Parentheses, Brackets, Braces, and Angled Brackets
225(2)
Euro
227(1)
Ellipses
227(1)
Dingbats and Ornaments
227(1)
End Marks
228(1)
Typetip: Typographic Checklist
229(1)
Exercises: Typographic Principles Card Set, Regina Rowland
230(2)
Spa Brochure, Ilene Strizver
232(3)
Chapter Eleven Type on the Web (and Other Digital Formats)
235(28)
Characteristics of Type on the Web
235(1)
Font Style
235(1)
Type Size
236(1)
Column Width/Line Length
237(1)
Line Breaks
237(1)
Column Depth
238(1)
Color
238(1)
Web-Safe Fonts
238(1)
Sans Serif
238(1)
Serif
239(1)
Symbol Fonts
239(1)
Web Fonts
240(2)
Web-Font Availability
242(1)
Typetip: Web-Font Services
242(1)
Smart Punctuation on the Web
243(1)
Cascading Style Sheets
244(1)
Type as Graphic
244(1)
Typographic Hierarchy on the Web
244(2)
Dos and Don'ts
246(2)
Smartphones, Tablets, E-readers, and Other Devices
248(2)
Exercises
The Crystal Goblet Online: An Assignment in Two Parts (Transparent and Opaque), La254ura Franz
250(4)
ENCODE / DECODE, Heather Shaw258
254(4)
iPad Editorial, Marty Maxwell Lane
258(5)
Chapter Twelve Type in Motion
263(18)
Combining Type and Motion
264(1)
Basic Guidelines
265(1)
Font Selection
265(1)
Movement
266(1)
Color
266(1)
Sound
267(1)
How to Get Started
267(1)
Dos and Don'ts
268(2)
Exercises
Four Squares: Text, Color, Motion, Heather Shaw
270(4)
Design is..., Marty Maxwell Lane
274(2)
Film Title Sequence, David Peacock and Michaela Wagoner
276(2)
Digital Narrative, Dermot Mac Cormack
278(3)
Chapter Thirteen Designing Your Own Typeface
281(14)
Handwriting Fonts: A Good Place to Begin
281(3)
Three Approaches to Designing a Typeface
284(2)
Professional Guidelines
286(1)
Techtip: Font Production Editors
287(1)
Exercises: On Beyond Zebra: The 27TH Letter Assignment, Virginia Rougon Chavis
288(2)
Introduction to Type Design: Symphony, James Montalbano
290(3)
Digitize Your Signature, James Montalbano
293(2)
Appendices: Digital Font Foundries and Distributors 295(1)
Web-Font Services 295(1)
Typographic Resources 295(1)
Glossary 296(5)
Bibliography 301(1)
Picture Credits 302(1)
Index 303
Ilene Strizver is the founder of The Type Studio in Westport, Connecticut. She writes and teaches extensively on typography. During her career, she has been creative and produc- tion director of U&lc magazine, as well as director of typeface development at International Typeface Corporation (ITC) in New York City, where she developed more than 300 text and display typefaces with respected type designers such as Sumner Stone, Erik Spiekermann, Jill Bell, Jim Parkinson, and the late Phill Grimshaw. In addition to penning the popular TypeTalk column for creativepro.com, Ilene is a featured contributor to the Fontology series for fonts.com.