The Complete Typographer

This hands-on design guide helps readers build a foundation for the development of an individual typographic sensibility by providing a brief outline of the evolution of type, an introduction to the language and terminology of type and type setting, fundamental rules and conventions of professional practice, and key decisions on type selection and page layout. More typefaces are now readily available to a wider public than at any time in the past–this book presents a basis for the confident and informed exploration of a rich and vivid medium that continues to play a fundamental role in human communication.A directory of typefaces places the major type categories and typefaces into their historical context, introducing some key examples of excellence in contemporary type design as well as identifying the fundamental values that have sustained the continued use of classic typefaces over the last 500 years of print history.A guide for aspiring designers, typographers, graphic artists, desktop publishers, and advertising production people who want to sharpen their attention to detail and develop a sensitive typographical eye.

Rev. ed. of: The complete typographer / Christopher Perfect. 1st ed. 1992.

Offers insight and information to help design students apply their skills to the commercial industry. Graphic design is a fast growing industry with thousands of new designers and students joining its ranks every year. The explosion of the graphic design field has resulted in the release of hundreds of new books, with subjects ranging from logo design to web design, design history to design criticism; today there are very few subjects related to the industry that have not been written about in one form or another. While the wealth of information and resources available to the graphic designer is extensive, it makes it hard to gain an overall perspective of graphic design and its practical applications in the field, as the content and subject matter of most books is very specialized. Design educators, especially at the collegiate level, have an increasingly difficult task of teaching a well-rounded course in graphic design, as they have to pull curriculum ideas from many sources, and require the students to purchase numerous texts. The Complete Graphic Designer is that well-rounded course in graphic design. It is not an instructional “how to� book, nor will it feature a series of suggested curriculum or problems for designers or students to solve. Rather, this book will be a concise overview of the many facets of graphic design, such as communication theory and why it is important; various types of problems that designers confront on a daily basis; and the considerations that must be made when trying to solve those visual problems. In addition, it features prominent designers and design firms that are renown for work in a certain type of design, and frequent “sidebars� or articles that include useful information on graphic design. This book provides a complete an comprehensive look at what graphic design is and what it means to be a graphic designer from an applied perspective, with chapters including Design for Communication, The Design Process, Page Layout, Visual Problems, Corporate Identity, and Branding.

Designed to provide an introductory grounding in Typography, The Complete Typographer teaches the essentials for the effective use of type - technical expertise and historical knowledge, an understanding of the functional and aesthetic qualities of different typefaces, and the organization of typographic space. This new edition features undergraduate and postgraduate student work alongside the work of established professionals, so that students can compare their own work with that of their peers and study the work of experts. Other useful tools include study notes at the end of each section, assignments set tasks for the reader, an expanded section on new media typography, and illustrations from both historical and contemporary sources.

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.

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.

Just My Type is not just a font book, but a book of stories. About how Helvetica and Comic Sans took over the world. About why Barack Obama opted for Gotham, while Amy Winehouse found her soul in 30s Art Deco. About the great originators of type, from Baskerville to Zapf, or people like Neville Brody who threw out the rulebook, or Margaret Calvert, who invented the motorway signs that are used from Watford Gap to Abu Dhabi. About the pivotal moment when fonts left the world of Letraset and were loaded onto computers ... and typefaces became something we realised we all have an opinion about. As the Sunday Times review put it, the book is 'a kind of Eats, Shoots and Leaves for letters, revealing the extent to which fonts are not only shaped by but also define the world in which we live.' This edition is available with both black and silver covers.

This 4-color guide to typography covers the history and development from its manufacturer from handcraft methods, cold metal and modern electronic photo composition including desk top publishing.

This highly visual introduction to all things typographic unravels the story of the fonts that we encounter every day. It opens with an A-Z of a range of significant fonts, chosen to represent the typographic spectrum. As well as looking at each font's historical context and design ethos, a pangram will showcase the entire alphabetic range of each font, as well as relaying a pithy message about the font's history, purpose or use.A chapter on Anatomy will deconstruct the letters of the English alphabet to reveal the anatomical structure of the letterforms, explaining terms such as bowl, crossbar, finial, ligature and spur. An examination of the typographer's toolkit explains how type can be manipulated and arranged on the page to create an arresting design. The final chapter examines the myriad signs, symbols and punctuation marks that litter the printed page, created to endow printed text with additional meaning and nuance.

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.