Over one hundred prominent designers and design educators were sent a ballot listing all major type-faces and were asked to vote for the type families that best fulfilled their personal criteria for typographic excellence. The typefaces contained in this book represent the results of this poll, providing a compendium of excellent typefaces that have stood the test of time. Typographic Specimens: The Great Typefaces will provide information, inspiration, and a keener knowledge of typography.
Includes 80 full-color pages addressing the important issue of color in typographic design. * New case studies showcase design for Web sites, CD-ROMs, and environmental graphics in addition to the existing case studies which detail examples of visual identification systems, book and magazine design, film and video text, and wayfinding graphics, along with outlines for analysis and solutions. * Revised technology section emphasizes current digital type technology. * Five new typefaces are included in the type specimens chapter. * New information is included on legibility and the Internet.
Mehr und mehr werden die Fragen nach den medialen und medientechnischen Bedingungen von Literatur in den literaturwissenschaftlichen Curricula verankert – zumal im Zuge der Umstrukturierung der Studiengänge. Gleichwohl fehlt auf dem Buchmarkt bislang ein Handbuch, das Studierenden sowie Fachwissenschaftlern auf diesem nur schwer zu überblickenden Arbeitsfeld Orientierung bietet. Zwar liegen Standardwerke zur Medientheorie bzw. Mediengeschichte vor; es gibt jedoch einen steigenden Bedarf an einer Überblicksdarstellung, die diese Forschungsgebiete in ihrem Bezug auf Literatur erfasst. Das Handbuch schließt diese Lücke und informiert umfassend über die Medien der literarischen Texte einerseits sowie andererseits über die Medien der literarischen Kommunikation. Es bietet eine Bestandsaufnahme des aktuellen Forschungsstandes auf diesem Gebiet und stellt daher für angehende ebenso wie für erfahrene Literatur- und Buch-, aber auch Theater-, Film-, Medien- und Kulturwissenschaftler eine wichtige Informationsgrundlage bereit.
Using desktop computers, graphic designers have vigorously plunged into the waters of typographic experimentation, irrevocably altering the way they approach and translate ideas into visual form. This book offers a range of typographic experiments by leading graphic design professionals and advanced students. Each project is discussed in detail, revealing both methods and rationale. 1,600 illustrations.
Philip B. Meggs,Rob Carter,Libby Phillips Meggs,Sandy Wheeler
Author: Philip B. Meggs,Rob Carter,Libby Phillips Meggs,Sandy Wheeler
Publisher: John Wiley & Sons Inc
Category: Biography & Autobiography
Graphic designer, professor, historian, and author Philip Baxter Meggs (1942-2002) was born in 1942, Meggs began teaching in the Communication Arts and Design Department at Virginia Commonwealth University, chairing the department from 1974 to 1987. In 1983, he published his History of Graphic Design--the book that not only put graphic design in its historical context; it put graphic design on the cultural map. Before Phil Meggs wrote his seminal book, graphic design was left largely unchronicled. A History of Graphic Design offered designers and students of design a foundation on which to build, a starting point from which to move forward, and a context for graphic design's place in history. This single work afforded an immediate legitimacy to a field that had, until that moment, been considered more of a trade than a profession. As Steven Heller wrote in PRINT magazine, Meggs "laid more than a groundwork; he built a monument to graphic design's legacy. Now he is an integral part of that legacy." Meggs: Making Graphic Design History is at once a retrospective of Phil Megg's achievements as a historian, educator, and artist in his own right, a deserved tribute to his lasting influence on the graphic arts, and a loving memoriam written by family, friends, and colleagues who were lucky enough to have known him.
If there is one experience that any graphic designer can relate to, it's the quest for the perfect typeface. The right typeface communicates the visual essence of the content while enhancing the impact of the overall design. The dozens of type samplers available are often more confusing than helpful, offering hundreds of choices but little guidance. Typeface: Classic Typography for Contemporary Design is a unique sourcebook featuring sixty classic typefaces that continue to resonate with today's most influential graphic designers. The book is organized using typographic classifications such as sans serif, serif, display, script, and dingbats. Each typeface is presented in detail, including its origin, main characteristics, and uses. The main character set of each type specimen is accompanied by typesheet style examples including technical specifications and non-Latin characters. In addition, Typeface includes a unique feature certain to delight designers: a choice of similar typefaces is given for each font, so that alternatives can be easily compared, taking the stress out of tracking down typefaces. Characteristics such as vertically stressed oblique serifs or abrupt contrasts are highlighted and easily cross-referenced, allowing designers to make educated type choices without having to trawl through the seemingly endless pages of type vendor libraries. Accompanying the main character sets and typesheets are examples of the typefaces in use. Leading practitioners such as Pentagram, karlssonwilker inc., and Why Not Associates provide a working context for each typeface, making Typeface both a fully functional sourcebook and an inspirational showcase of international typographic design.
Schriftnamen kennt jeder aus seiner Textverarbeitungssoftware. Was aber verbirgt sich hinter den gegenwärtig genutzten Schriften? Woher kommen sie, wie wirken sie, wo tauchen sie auf? Unterhaltsam und lehrreich!
Das internationale Schriftschaffen nach 1950 wurde maßgeblich geprägt vom Schweizer Adrian Frutiger. Sein Schriftprogramm Univers und die zum ISO-Standard erklärte, maschinenlesbare Schrift OCR-B sind ebenso Meilensteine wie die zur Frutiger weiterentwickelte Schrift der Pariser Flughäfen – ein Qualitätsstandard für Signalisationsschriften. Mit den Corporate Types prägte er Firmenauftritte wie den der japanischen Kosmetiklinie Shiseido. Insgesamt entstanden rund 50 Schriften, darunter Ondine, Méridien, Avenir und Vectora. Auf Gesprächen mit Frutiger basierend sowie auf umfangreichen Recherchen in Frankreich, England, Deutschland und der Schweiz, zeichnet die Publikation den gestalterischen Werdegang des Schriftkünstlers exakt nach. Es werden alle Schriften – vom Entwurf bis zur Vermarktung – abgebildet sowie mit Bezug zu Technik und zu artverwandten Schriften analysiert. Bisher unveröffentlichte, nicht realisierte Schriften sowie über 100 Logos vervollständigen das Bild. Mit dieser zweiten Auflage, einer korrigierten und durch einen Index erweiterten Studienausgabe, lässt sich Frutigers Werk noch besser erschließen.
This priceless resource explores the methods for teaching and learningypography. Featuring more than forty essays from top experts and educatorsn typography today, this collection - the first of its kind - runs the gamutrom introducing the themes of type and typography to various complex andarefied strategies for learning. Teachers, students, and professionalsngaged in teaching type will find insights on traditions and conventions,ypographic narratives, type dialogues, and digital literacy as well as apecial section of syllabi and projects. Representing a diverse and prominentoster, contributors include Allan Haley, Art Chantry, Stefan Sagmeister,enise Gonzales Crisp, Nick Bell, Jonathan Barnbrook, Teal Triggs, Ed Fella,ames Craig, Johanna Drucker, David Jury, John D. Berry, Max Kisman,atherine McCoy, and many others. Anyone working with or interested in typeill be inspired by this unique collection. There is no other book like thisn the market. This is the first time educators in the field of typographyave shared their insights, experiences, and syllabi for other teachers and
For designers who work on computer, this book shows how typefaces affect the overall design of publications. Examples of type use by well-known designers are analyzed, with alphabets of featured typefaces provided.
In this text, 25 designers and educators examine how graphic design is taught,earned and practised. In interviews with ten successful designers,ncluding Milton Glaser, Jessica Helford, Paula Scher, Michael Bierut andavid Carson, the author attempts to discover how they acquired theirnowledge of design and how they have translated it into practice in theirareers. The book presents model design-education curricula for bothndergraduate and graduate levels.
"With this visually stunning primer, designers will develop the skills and vision to produce truly innovative, stunning type design. Using more than 1,500 images from the 18th century up to the present day, the author describes type as a unique language that follows its own rules for communication and that requires great sensitivity for the reader's needs. Like its companion volume The Elements of Graphic Design, the book can be used as a first exposure primer for students and as a reader for professionals. Section one covers basic information about type design, while the remaining sections, What Readers Want, Creativity, and Typography Timeline, provide in-depth information about more advanced topics. Chapters include the elements of typography; the differences between type applications; how typography creates identity; what readers look for and respond to; step-by-step guides to developing distinctive type treatments; how to generate type ideas; and the historical development of typographic rules and letter forms. Written by a practitioner who regularly collaborates with today's leading type designers around the globe, this book offers insights into typography that normally require years of professional practice. Designed in an innovative two-color layout, the book provides a fun and systematic learning experience on multiple levels." --Allworth.
"Author Steven Heller continues his engaging exploration of the significance and histories of various objects of design and their impact on both the particular and broader cultural environments in which they exist. Grouped into the collective themes of propaganda, media, language and commerce, the objects discussed range from 'Zap Comix' to Cold War graphics to Leo Lionni's children's books to au courant magazines of the 1990s. This volume also investigates larger movements and phenomena, such as Norman Rockwell's lasting impression on Americana, issues of plagiarism and censorship, and the 'Big Idea' in advertising, and includes profiles of designers whose bodies of work helped determine the look and content of design today. Like its prequel, 'Design literacy,' this is an eclectic look at how, why, and if graphic design works as an influence on an ever-widening and diversifying public eye." - back cover.
Author: Paul Valkema Blouw,A.R.A. Croiset van Uchelen
Category: Literary Criticism
When compiling the short-title catalogue of books printed in the sixteenth-century northern Netherlands from 1541 to 1600, Paul Valkema Blouw was confronted with a large number of ‘problem cases’, such as anonymously and/or surreptitiously printed editions, fictitious printers and undated or falsely dated printed works. By minutely analysing the typefaces, initials, vignettes and other ornaments used, drawing from his extensive knowledge of secondary literature, archival information and his unrivalled typographic memory, he not only managed to attribute a surprising number of these publications to a printer, but also could establish the period of time in which, as well as the places where, they must have been printed. These findings and the ways in which they were reached are described in the present collection of papers.
Type Design from the Victorian Era to the Digital Age
Author: Steven Heller,Louise Fili
Publisher: Chronicle Books
A must-have for designers, not to mention that quirky group in love with type for types sake (you know who you are), Typology is the most visually dynamic compendium of typefaces on the market. Steven Heller and Louise Fili, two of the most admired and respected designers working today, cover everything from the classic elegance of the late 19th century to the fractured hypermedia of today. Organized by historical era and country of origin, each section introduces the culture and aesthetic of the period, discusses how individual styles developed, and offers insights into the artistry of key typographers and foundries. Expertly assembled and thoughtfully written, no other book encompasses this wealth of type styles in historical context. Its pages are profusely illustrated with hundreds of complete alphabets, and such original artifacts as typesheets, catalogs, broadsides, posters, and many other primary source examples. In all, Typology is the long-awaited type encyclopedia destined to be a standard reference work for years to come.